[Tony West]

[Steve Connor] “Seriously, FCPX development has been very steady but in terms of adding features it’s not in the same league as PPro”

As it should be I think. Once they went to that subscription, they had to really step up their game.

X is one and done so far, so they need to outpace Apple to justify that rental fee or folks might bulk.

You have to make that rental plan worth it to people, and so far it’s working for many.

[Tony West]

[Steve Connor] “[Tony West] “X with that single viewer setup seems better suited for a small screen than a 2up that would make the canvas even smaller on a laptop.”

Steve, when X first came out, Apple really got taken to task for that single viewer (I had to get used to it myself) But did they partly have laptop editing in mind when they did it, and wanting to make that canvas bigger on that small screen?

Was it a smarter move then we first thought in this context and did it influence others
because this

[Steve Connor] ” FYI Premiere Pro can also be configured for single viewer.”

Also, those CCs make working on that smaller screen easier also.

[Tony West]

[David Lawrence] ” For me this is the best of both worlds! :)”

Sounds good

[Tony West]

David, when you use X on a laptop do you use it in the dual viewer mode or single viewer mode?

The thing about cutting on a laptop is the screen is usually small making your canvas smaller.

X with that single viewer setup seems better suited for a small screen than a 2up that would make the canvas even smaller on a laptop.

I don’t cut on a laptop but every time I see folks cutting X on one, they have it in that single viewer mode.

Sometimes I will see someone cutting 7 on a laptop and that canvas looks microscopic to me : )

[Tony West]

[Andrew Kimery] “I do know the clean up is a hot button issue in the area.”

Indeed, it’s a hot button issue in many areas. I shot the film in St. Louis because I live here, but I could have easily told the same story in many states across the country.

I think you will find the film interesting Andrew and see our story in your story. I’m taking it to Dayton Ohio this weekend. Another area of the country I could have told the story in.

[Tony West]

[Andrew Kimery] “Hopefully I’ll be able to catch and we’ll be able to shoot the breeze in person.”

That would be awesome.

I don’t know if you have been following the news out there lately with the Santa Susana site, but that’s pretty much the topic of my film. It really couldn’t be more timely. I picked that theater because it’s close to that site and the former workers.

[Tony West]

[Andrew Kimery] “One thing that I have seen though is commercial stock footage/image sites taking material that is public domain and charging for it like they own the rights.”

Yeah, I have seen that also. I think in some cases you are paying for the convenience. They feel like they did all the hard work of organizing and finding this stuff and they want to get paid for that.

I’m OK with it sometimes.

BTW I will be out your way screening the film Dec 3 at the Laemmle in Encino

[Tony West]

[Herb Sevush] ” newest version of Audition a tool that will take a piece of music that runs, let’s say 1:30, and automatically re-cut it to a length you specify without using re-timing but rather by analyzing the beats “

Hummm, that type of automation sounds kind of “Apple’ish” like the ease of the Ken Burns boxes on stills.

One might get less respect than the other, but I might be tempted to put them in the same boat.

[Tony West]

[Shawn Miller] “Then again, there are a lot of really talented folks south of the border who don’t have high living expenses either. 🙂
“

I remember doing a job for the Post Office about 15 years or so ago in my state, and they had these cameras set up on the lines zoomed in on the mail so that some people in a southern state that worked cheaper (as they tend to do down there) could read the zip codes and type in the info.

They didn’t leave the country, and I don’t know how much they saved by doing it. Totally different industry, but it just kind of reminds me of that.

[Tony West]

[Andrew Kimery] “I started using Producers Best Friend “

I have never used that program so I can’t say, but most of my footage came from a site called critical past.

You can order format or frame rate to fit your timeline. Their search engine was whack but once you found whatever you were looking for it was really great quality. You could just download it.

I would use the temp footage from clips in the timeline to see how they cut and once I was sure, I replaced it with the real footage.

All my clip rights were stored as PDF files in separate folders. I like PDF files, I just like them.

It’s a big deal to know who owns the rights for everything you use of course so I was really diligent about that.

It just wasn’t information I needed in the timeline. I don’t need to know if I paid “The Post-Dispatch” for the still I’m using while I’m cutting.

I don’t even know if I’m going to use the photo or not. When the time comes to go to the public with your film you just need to have all your proof that you paid for everything where you can get your hands on it.

I stuck mostly with stills from the DOE, NRC or other government agencies. If it belonged to the government I knew I didn’t have to pay for it.

News papers made me cough up the cash : )